This is a repost of one of my student's blogs about my recent Cannon Beach painting workshop. Posted her with permission, thank you Rick Jasper.

Michael Orwick Teaches Oil Painting Workshop

The small coastal community of Cannon Beach, Oregon was the setting for an oil painting workshop instructed by Michael Orwick. Michael’s experience as a landscape painter, combined with his passion for painting, provided for a magical 3-day event.

The students were introduced to three distinct approaches to starting a new piece. Each one focused on developing a strong tonal quality, as well as a balanced composition.

Michael’s method of mixing colors from a limited palette, not only simplified the process, but also made it easy to create rich, dramatic and controlled colors.

By applying the solid practical principles laid out in class, each participant made great strides in artistic growth over the three day period.

Michael’s enthusiasm was contagious, and the atmosphere of encouragement made the class an added delight.

There was even an opportunity for some “plein air” practice. The bravest among the group set up their easels on the beach, and painted along side Michael, as they attempted to capture the sunset in real time.

During the afternoon session on Saturday, the owner of the Dragonfire Gallery talked to the students about art from the gallery’s perspective.

Later that evening, the gallery hosted a special reception for the group with appetizers and wine. This change of venue was a great chance to converse with fellow students on a more personal level. And with the framed paintings done by Michael and other artists hanging throughout the gallery, it was tempting to wonder if maybe one or two of those present might one day have their work hanging in galleries as well.

Sunday was the final day of the workshop. One by one, starting around mid-afternoon, students scrapped the colors from their palettes, said their goodbyes and departed. But no one left empty handed. Each took with them, a more complete understanding of the painting process, as well as a greater visual sensitivity. Students were now armed with a new arsenal of tools to take command of their work with.

I was lucky enough to take part in this workshop. Below are some paintings I did during our sessions. Even though they need some work, I consider each a success, because I learned valuable lessons while working on them, which I can apply to future projects.

Hopefully, with practice, I will progress and improve. I will most likely never see any of my works hanging in a gallery, but I can certainly develop new skills and mature as a painter.

Michael Orwick refers to his painting style as “inspired expressionism”.  By his color choices and purposeful use of light, Michael creates an atmosphere that takes the viewer on a journey to a place somewhere between the familiar and the entrancing. The onlooker is drawn into the painting and is invited to bring it to life by providing details of the story that are left unsaid by brushstrokes. This approach engages the viewer in a way seldom achieved.

If you would like to know more about Michael’s paintings or check out future workshops, visit his website at: www.MichaelOrwick.com or stop by the DragonFire Gallery in Cannon Beach.

Pinot & Palette

 The Art of Michael Orwick

 The Art of Pinot Noir

Art Elements Gallery, Newberg, Oregon

For additional information on Michael Orwick and to see images of his work ...  www.MichaelOrwick.com

on Facebook ... http://www.facebook.com/MichaelOrwickArts

ART ELEMENTS ... www.artelementsgallery.com

Join Michael Orwick in scenic Cannon Beach, Oregon, for 3 days of painting some truly spectacular scenery.

Put life and personality into your landscapes. We will focus on the fundamentals of landscape painting while exploring the beauty and atmosphere of the area.
10am-4pm (I like to paint the light of morning and evening best and my students are always welcome to join me for informal sunrise and sunset paint outs at no additional charge.)



You will learn the importance of observation rather than using formulas and recipes to paint what you actually see and feel. Through instruction, demonstrations, and critiques, this workshop explores composition and design, value and color harmony, and brushwork and edges. Students will also focus on recreating a some of the atmospheric situations the Oregon Coast offers.



Each day will include a demo and a group discussion about painting techniques, materials and philosophy, and individual easel time along with helpful critiques. I like to concentrate on the basic elements of painting and will include an exercise or two to reinforce some of the basics that we all need to brush up on from time to time. There will be at least one black & white exercise, and the chance to paint full color studies as well. At the end of the three days there will be time for a discussion about your work and for questions as a group.


The workshop is open to oil painters of any level.

Look forward to Lots of personal painting time and help every day. We'll all learn a lot and have a great time.

Bring photo references in case we have to paint inside due to extreme weather.

Demonstrations will be directed at oil painters, but concepts and principles will apply to all media.



Oil Painting Supply List

Canvas and Painting Surfaces
_ Sizes 8x10 and 11x14 for learning on cheap boards and canvas panels are fine. Use what you like and can afford easily. I Use Raymar.com Portrait canvas boards.

Paints
_ 1. Ivory Black — general mixing black with moderate tinting strength. I try not to use black very often, but we plan on doing some black and white studies, which are a great way to learn values.
_ 2. Titanium-Zinc White - best general mixing white
_ 3. Cadmium Lemon – cool color, great mixing yellow can go warm or cool. Option instead of Lemon yellow Hansa Yellow Lt.
_ 4. Cadmium Yellow Med. — warm opaque yellow
_ 5. Cadmium Red Medium –can go warm or cool
_ 6. Quinacridone Red (or Alizarin) — cool red replacement for Alizarin and makes high key tints
_ 7. Ultramarine Blue or French ultramarine — warm (toward red)
_ 8. Manganese Blue Hue — cool (toward green) transparent water blue this beautiful color that many people can use for sky and water.

My extra color I keep around in Gamblin’s Indian Yellow for warmth.
Media
_ 1. Gamblin Gamsol odorless mineral spirits for painting and cleaning.
_ 2. Winsor & Newton Liquin for detail and glazing, to unify shine.
Other Supplies
_ 3. I always have a roll of paper towels ready to wipe my brushes and canvas. I like Viva paper towels.
_ 4. A Round Point Painting/palette knife sometimes called a Spatula knife for mixing colors and occasionally for painting.
_ 5. I like to mix my paints on a glass surface, but most any palette can work. Try to stay away from the disposable paper type.
Brushes
I like Chungking Hog Bristle brushes for their strength and durability. I buy mostly flats and Filberts in sizes 6, 8, 10, and 12 with one smaller size like 2 for detail work. I use these brushes for the whole painting. I order mostly Utrecht.com series 209 White Hog Bristle.
_6. Standing Easel. I use The Easy-L

A few links to supplies that I use.
Feel free to get what you like from where ever you like.

http://www.artworkessentials.com/

http://www.utrechtart.com/dsp_view_products.cfm?classID=1216&subclassID=121610&brandname=Artria

http://www.utrechtart.com/dsp_view_products.cfm?classID=1210&subclassID=121010&brandname=Utrecht%20Series%20209

http://www.raymarart.com/

http://www.mgraham.com/ I love their Manganese Hue color

http://www.gamblincolors.com/ Love their Indian Yellow and Earth Red.

This is part 1 of how the big four venue art and wine tour show has come to be.

Fruity and Earthy

Her questions raced about my mind.  Charlie Boguz, my friend and the owner of Primary Colors Consulting, had met me at the Legacy Gallery during the opening for the Oil Painters of America show in Tucson, Arizona. We had a chance to break away for a bite to eat and a glass of  wine.  So, here we were at lunch, on the premise of talking about my career.  It was a shockingly short discussion, but Charlie was smart and knew how to lead me by asking many what ifs, have you thought abouts, or would it be possible type queries.  Her questions were going to lead to something big. 

We’re on to Something Here

Soon she was asking about my next series of images, and I told her I realized the irony that my paintings were often inspired by far off locations, as if I felt I should travel to find beautiful scenery.  I live in the Pacific Northwest! It’s one of the most diverse, mysterious places I know, and I recalled the adage that we can mine for diamonds in our own backyard.  And my back yard is spilling over with mountains, streams, moody weather, towering evergreens, and seas that reach to the orient.  Another sip of wine, and we were seriously talking about Oregon’s famed vineyards.  I told her how popular my occasional paintings of Oregon vineyards had been, and Charlie knew we were onto something.